Swift, like Justin Bieber, has a knack for romance. Among the wintry little pen-portraits on her fourth album there's a couple "dancing round the kitchen in the refrigerator light" (All Too Well). Red was allegedly inspired by her experience of "love and its fast-paced, crazy adventures": how she's had time to open her door to such a parade of lovers good and bad, God only knows. On 22 she celebrates her age like a cleaned-up Katy Perry, but Swift has never seemed 22, and it feels dirty trying to imagine her on a night out. Add to this the many vulnerable poses struck by this Brünnhilde of a rockstar, this asbestos and iron-clad Amazonian of a woman, and it's clear that Red is another chapter in one of the finest fantasies pop music has ever constructed. Men will always be drippy, emasculated partners who exist to serve her needs. There are duets with Gary Lightbody (The Last Time) and Ed Sheeran (Everything Has Changed), and they sound like her little brothers.